What an extremely sad album Words and Music by Saint Etienne is.

“When I was 10, I wanted to explore the world. There were these older kids at school, who’d gone all the way to Somerset just to see Peter Gabriel’s house. Peter Gabriel from Genesis,” clarifies Sarah Cracknell in the opener “Over The Border”. In a way, this clarification sets the way for events about to unfold in the course of the gorgeous, made-for-vinyl 13-track album full of beautiful, sad pop songs. An album that will be entirely lost on the generation that needs clarification about who Peter Gabriel is. An album that continues where “Teenage Winter” left off seven years ago.

Words and Music by Saint Etienne is, you see, a concept album about music. This should ensure a 9.2 point review at Pitchfork, had it not been for the fact Saint Etienne use synthesizers and Sarah Cracknell’s voice sounds nothing like that constipated sheep… ooops, typo, I was going to write Thom Yorke. It is an album about not just music, but also about records, magazines and aging in a world you no longer really understand. “Over the border, I’m growing older/Heaven only knows what’s on its way/Every single day, love is here to stay” coos Sarah melancholically. And it doesn’t get much more jolly further on. The current single, and second track on the album, “I’ve Got Your Music” name-checks “I Feel Love” by Donna Summer, who died yesterday. “Tonight”, while ostensibly a happy song about anticipation of your favourite band, desperately hopes to escape the tedious life through music. “Popular” is about… the same subject, but with heartbreak added. “A while back I was very low/When this guy said I had to go/Oh boy, he broke my heart in two… All I wanna talk about is Touch Me, Touch Me/All I wanna hear about is Squeeze Me, Please Me/One time, two time, three time and again”. “DJ”, another dancey little number on the surface, is about “making out to the DJ” with a man who is going to break our heroine’s heart yet again. “When I Was Seventeen” and its companion “I Threw It All Away” convey the horrifying sentiment of someone who isn’t sure they lived their life the right way — and there is only “twenty five years, maybe more if I’m lucky” left. And “I’ve been pretty dumb and I spent all my money” doesn’t sound like Sarah is in a very good place in her life either.

At the end music will make it all alright, as long as the band, who “say they’re in love with synthesizers” will “open with an album track, a top 5 hit? no turning back”. Words and Music… is a sad record filled with nostalgia, no matter whether the songs are uptempo, midtempo or ballads, but at the same time it’s modern, varied, pretty, polished (but not too much), exciting and gorgeous. Listening to it feels a bit like being killed with rose petals by a really gorgeous person dressed in red velvet. Or perhaps it feels like listening to a new Saint Etienne album about records, b-sides and importance of music using iTunes. “He said it’s just the music, baby” sings Sarah in “DJ”, and you KNOW this is not going to end up well. “As she moves a little closer to kiss him, she only feels the cold night air”, we find out, and it’s obvious this man downloads music from torrent sites.

I love Saint Etienne, and I understand precisely what they mean. Generation X and Y have one thing in common: lack of interest in anything that used to make music so damn special. Saint Etienne are a band deeply in love with music and records, with the 7″ and 12″, with singles and b-sides and special editions and boxed sets and promo-only picture discs — living in a world where a CD single is considered nothing more than a waste of space and music is something you get for free, listen to on a mobile phone, then delete to make space for more and more and more and more disposable records by disposable pop stars. Madonna and Saint Etienne chose very different approaches towards this world; Madge made record in about three days, didn’t even pretend to have any interest in its longevity or artistic value, “promoted” it with two worst singles of her career, and now embarks on a tour that’s supposed to gross hundreds of millions of dollars — which was the point from the start. Saint Etienne made an extremely old-fashioned, introspective record about nostalgia for the time that passed away the day Napster was born, and embark on a tour of very tiny venues and two or three festivals.

“I didn’t go to church, I didn’t need to”, says Sarah in “Over The Border”. “I knew he loved me, cos he made me a tape. I played it in my bedroom, I lived in my bedroom. We all did.” This world doesn’t exist anymore. But the fans of Saint Etienne lived in it. And some of them still do — at least if you count the fact that 1,000 copies of the 3CD boxed set version of the album sold out in an hour, even though the price was steep and the packaging abilities of Universally Shit Music Store are well known among the Etienne fans. Because our love for Pete, Bob and Sarah is here to stay, especially if they deliver more music of quality as high as Words and Music by Saint Etienne.

It’s not a bad record.

That, in a way, is what its problem is. Beth Ditto’s AMAZING EP last year made me — for the first time — await the next Gossip release, and hearing that they worked with Xenomania made me expect god-knows-what. The cover art is exciting and scary, and that’s what I expected the music to be as well. Unfortunately, it is neither.

The lead single already disappointed me. I love Ditto’s vocal flourishes — oooh-oh-oh-oh-ooh bit is absolutely smashing. Otherwise, though, it’s The Cure redux. It made me a bit less excited about the album, which in a way is a good thing, because… it’s not a very exciting record. Look — I am sorry — I TRIED TO LOVE IT. And there are lovable bits on it. “Move In The Right Direction” is practically Girls Aloud, only with better lyrics and vocals. “Melody Emergency”, the opener, is brilliant in the Massive Attack producing a punk band kind of way. “Get Lost” has proper 90s house pianos scattered all over it. There’s a lot of brilliant “oooh ooh ooh ooh oohs” all over the album, too. But… the whole thing just sounds… flat. Joyless, despite the title. Beth Ditto’s lyrics and vocals can’t save a record that sounds like an obligatory contract filler.

I’ll stick to hoping the new Simian Mobile Disco album is better than that.

“Not Your Kind Of People”, Garbage’s fifth album, is the sound of a band not giving a shit.

After the divine Version 2.0 Garbage tried something else with BeautifulGarbage and seemed to miss the mark. The lead two singles underperformed (for their standards) and the follow-ups, while admittedly more “Garbage single-like” were much safer and boring choices.

The follow-up album, Bleed Like Me, was marred by Shirley’s vocal chord surgery, lack of communication between band members that started already during BeautifulGarbage promotion and label’s incessant pressure on delivering a hit. Much like New Order’s Republic, the resulting album sounded half-amazing, half-dead — work of a band that disowned itself. It was the first time as well that I didn’t feel like purchasing a Garbage record; the lead single “Why don’t you love me?” was quite a good question — why indeed. Perhaps because I’ve heard this one before and it was better then? Perhaps because even you don’t seem convinced you should be singing this? Why WOULD I love it?

And then Garbage went on hiatus, cancelled a world tour, Shirley recorded a solo album that the label refused to release, and everything seemed to go crap. Even when the greatest hits (with the obligatory new song “Tell Me Where It Hurts” sounding like a pastiche of Texas) came out, Garbage were plagued by bad luck; some songs couldn’t be remastered because master tapes have been thrown away (well… it said garbage on the sticker…) and so they had to be put back together from multitracks and re-mixed from scratch.

The new record is not made under pressure from a label — they are on their own now, with a self-created label called Stunvolume. And in a way you can hear that. Garbage made no attempt to sound “contemporary” in the world where radio plays Pitbull and Flo Rida. There’s songs harking back to The Cure and New Order on the record — “Felt” is almost missing Bernard Sumner’s voice on it, “Big Bright World” could come straight from Power Corruption and Lies, and so on. “Control” is “Queer’s” younger, bolder brother. “I Hate Love” is Version 2.0 updated, “Battle In Me” brings back the short pause from “Supervixen” that makes the latter such a superior track. Garbage declare their love for the 90s, and they do it SO RIGHT.

A note needs to be made about Shirley’s voice: she has never sounded so amazing. The RANGE. She whispers, she shouts, she is confident, she is bold, she is sweet yet poisonous, she’s strong and melodic and what else. “Battle In Me” alone — which I initially disliked because it just sounds so unlike Shirley ever sounded before — is a tremendous grower due to her vocal acrobatics. Who knew Shirley had SUCH a great voice?

The only thing that comes to a filler on this tight, amazing 11-track record is “Man On A Wire”. It’s not a bad song. It’s just that all the rest of the album is so ESSENTIAL. Garbage are SO BACK with this record that having a song that is merely good as track 10 is a disappointment after 9 massive shots of super-charged amazingness. Half a star must be deducted from perfect score because of “Man On A Wire”‘s placing in the tracklisting — if you need to disappoint me at some point, please don’t do it at the END of the record, stick the filler in as track 4 or so that I forget about it when there’s so much more amazingness following it. In a similar way, “Blood For Poppies”, which I really really like, is a disappointing lead single when compared to “Automatic Systematic Habit” (this should be number one everywhere) or “Control” (this should be number one everywhere) or “Battle In Me” (this should be number one everywhere) or…

Ladies and gentlemen, if you have lived in the 90s and enjoyed any of it, you need this record in your life. It’s the kind of album that turns me from “someone who sort of likes the band” into a crying fan in fits of excitement.

Madonna is back with an album that is very much NOT a labour of love, but in a large part a labour of hatred.

 When I say Madonna is back I am serious: it feels like she’s been away from herself for quite a few years. American Life was a failed attempt at creating artsy-fartsy French electronica, which is all good and well, but it isn’t Madonna. Music was a mixed bag with some amazing songs (“Impressive Instant”, “What It Feels Like For A Girl”, “Paradise”) and some truly wretched ones (“I Deserve It”, “Gone”). Confessions On The Dancefloor always seemed to me like a very calculated attempt at winning back Teh Gays and while it partly worked, I could never forgive her the abomination that “Hung Up” was.

Hard Candy was so half-baked that it’s really hard to even admit it exists. For the first time ever instead of seeking out exciting people to work with Madonna relied on showbusiness staples — Timbaland (waaaaay past his sell-by date) and Justin Timberlake, and created a record that was largely painful to listen to. While it sold a lot and the tour was a financial success, artistically both seemed to be empty and made simply because “I am Madonna and I’m supposed to do this”. This was followed by an obligatory record company cash-in… I mean a glorified double-CD singles collection with two new songs, which haven’t changed the world in the slightest. And then Madonna went to make a movie.

The lead single off MDNA, “Give Me All Your Luvin’” seemed to reaffirm the idea that Madonna was over. What would be a great debut single for someone of Lola’s age completely didn’t fit Madonna, The Icon, The Queen of Pop, the person with more than three singles in her discography. While visually extremely impressive, the Superbowl performance served further in proving that “Luvin’” had no place next to “Vogue”, “Open Your Heart” or “Like A Prayer”. Collaboration with LMFAO — it hurts even to type this name — didn’t improve matters, and neither did the second single, “Girl Gone Wild”, which sounds exactly like “Celebration”. Reductive much?

And then the first snippet of the album track was released by Madonna’s team, “I’m addicted” and suddenly my interest was rejuvenated. This was coming? Whoa. And more snippets followed, and each was better than the two singles. “Perhaps they just picked good bits of the songs”, I worried. I shouldn’t have.

Let’s politely ignore the mess that “Girl Gone Wild” is (except for a glorious spoken intro) and move to track 2, “Gang Bang”. Madonna is not happy, and if I was Guy Ritchie, I’d have shivers down my spine. “I’m scared, can’t you tell” she intones in an icy monotone that suggests anything but. “I thought it was you and I loved you the most/but I was just keeping my enemies close. I made a decision I would never look back, so how did you end up with all of my jack? BANG BANG SHOT YOU DEAD, SHOT MY LOVER IN THE HEAD.” The. Queen. Is. Not. Happy. And this song is like “Impressive Instant” with a lot, lot of fury added to it. She is not like a bird on a wingy wingy wingy this time, she’s a crazed killer on a rampage.

“I’m Addicted” follows and it is, in a word, brilliant. “I’m addicted to your love” is pretty much the chorus, together with chants of “M! D! N! A!” (MDMA is also mentioned in the lyrics in case anybody still thought the title is accidental), production is absolutely mental — who knew Benny Benassi had this in him? — and unlike “Give Me All Your Luvin’” this song would actually FILL the dancefloors. It would have made an amazing single, and instead — because whoever A&Rs this record is either deaf or paid by Lady Gaga — will most probably remain an album track. It’s only 10 out of 10, so who cares, right? (There are rumours third single will be “Masterpiece”… Ouch.)

“Some Girls” is a nice song, but it pales in comparison to another incredible track: “I Don’t Give A” which is, lyrically, exactly what the title would suggest. Madonna raps again, but there are no soy lattes in sight. “You were so mad at me, who’s got custody? Lawyers, suck it up — didn’t have a prenup”. Ouch. Ouch. And Nicki Minaj delivers one of the tightest verses in her career, ending with: “There’s only one queen and that’s Madonna… BIIITCHHHHH”. And, unlike the bits in “Luvin’” in this song it’s actually believable, especially followed by crazed operatic bits that suggest somebody out there listened to Sparks’ “Lil’ Beethoven”. (Speaking of somebody out there listening to things, I would love it if “Baby Jesus on the stairs” was a proof Madonna reads DListed.)

“Turn Up The Radio” is everything that “Girl Gone Wild” isn’t. It’s a lightweight dancey track with pleasant production and a nice oomph. Not so much to write home about, and Madonna rhymes “seems” with “dreams” and “car” with “far” and “moth to the flame” with “playing this game”. This, unfortunately is a running thing throughout the album — even the very personal, hard-hitting lyrics could have done with a, ahem, well, better writer. It works in “Gang Bang” because it’s sheer fury, but in “Turn Up The Radio” it, sadly, doesn’t. Yes, you are dying in your cage and you want to get in your car and go very very far, it’s a sentiment everybody can relate to, but the rhymes make me roll my eyes very slightly.

“Love Spent” is yet another piece of amazingness on the album and the one lyric I have no bad words to say about. “Hold me like your money, tell me that you want me/Spend your love on me, spend your love on me” is followed by a small “Hung Up” homage — I’ll eat my edible underwear if this doesn’t become a medley on tour — and is another clear dig at Ritchie. It’s intense, fantastically produced (William Orbit truly excels), well-written, full of hooks and NOT. A. SINGLE. For fuck’s sake.

“Superstar” is “Dear Jessie” part two. While I worried a bit it would be about how hard it is to be a superstar that needs to get in her car and go very far, it is instead a love letter between mom and daughter. Madonna and Lola sing back at each other and the song is plain lovely — and a nice breath of air, actually, after the intensity of “Love Spent”.

“I’m A Sinner” is William Orbit doing yet another rewrite of “Beautiful Stranger”, only, hopefully, longer lasting — “Beautiful Stranger” is one of those songs that magically disappeared from my Madonna singles playlist due to its amazing ability to make me grind my teeth. “Masterpiece” is the first actual ballad on the full-on dance album, and in this context it works way better than it did when it was but a part of the W.E. soundtrack. And then the album ends with an Acoustic Soul-Baring Ballad “Falling Free”, which, despite me being slightly cynical about Acoustic Soul-Baring Ballads is actually very pretty.

MDNA is an amazing, amazing 10-song record with two somewhat crap bonus tracks that strangely enough were released as singles. I seriously don’t see the thought behind those picks. Was it Lady Gaga’s spy suggesting it? If anything, “Luvin’” should have been a non-album Superbowl buzz single, and “Girl Gone Wild”, ideally, not released at all — whoever thought of putting “when I hear the 808 drums” in a song that doesn’t have any 808 drums in it should already be shot, but the “ey-ee-yey-ee-yey” “hook” is just… bad. In comparison with those two, every single track on this album would make a better single, including even “Falling Free”. I think it might be the lyrics that made those two the initial picks, though; in an album full of songs about a divorce, killing your lover, drugs, addictions, a man who loves your money more than he loves you and being an ex-wife who DOESN’T EVEN FEEL THE PRESSURE those two might have perhaps simply felt easier to promote. (Not that Madonna does any promotion since the Superbowl.)

To sum things up: ignore the singles, buy the album. It’s amazing.

 1   !   1  212 (TOMMIE SUNSHINE & DISCO FRIES EDIT)
            Azaelia Banks feat. Lazy Jay
 2  10   5  SHADY LOVE
            Scissor Sisters vs Krystal Pepsy
 3   !   1  CANDY COATED CRIME (DAN BEAUMONT REMIX)
            The Opiates



 4   1   4  TONIGHT
            Saint Etienne
 5   !   1  BLOOD FOR POPPIES
            Garbage
 6   8   6  HELLBENT
            New Order
 7   5   2  BLACK METAL POGO
            DJ Morgoth, Ascii.Disko vs Planetakis
 8   !   1  TELEPORT 2 ME, JAMIE
            WZRD
 9  11   4  BEAR HUG/WORK
            The 2 Bears
10   4   4  BAD GIRLS
            M.I.A.

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Pet Shop Boys’ Format is a bit of a curious release. Collecting b-sides from the last 16 years of their career — at least in theory — it is both inevitable and unnecessary; overblown and incomplete; fascinating and painful.

The previous b-sides collection, 1995′s Alternative, was absolutely essential when it came to being a Pet Shop Boys collector. Some of the songs included were better than their respective a-sides; some became bona fide PSB classics, like “We All Feel Better In The Dark”, “Paninaro” or “Bet She’s Not Your Girlfriend”. There were a few weaker moments — “The Sound of the Atom Splitting” being a rather unsuccessful attempt at recreating acid house, and “What Keeps Mankind Alive?” frankly just unnecessary — but two weak songs haven’t marred the remaining 28′s amazingness.

Format, unfortunately, somewhat reverses the proportions. Quality starts slipping away towards the end of the first CD, when we encounter “Screaming”, which at the time was the worst thing Pet Shop Boys have ever recorded. Things improve briefly with the last four tracks on CD1, only to worsen again on CD2. “Searching for the face of Jesus” and “Between two islands” are as throwaway, as their a-side “I get along” was. “In private” is a love duet between two power bottoms, which is wrong for many, many reasons and the fact that they tried to follow Dusty Springfield’s footsteps and failed spectacularly is one of them. “Blue on blue” is just boring and goes nowhere. Same for “No time for tears” — yes, you’ve done an electronica soundtrack for Battleship Potemkin, that’s very exciting, now can we move on PLEASE. “Bright Young Things” is a rare example of a song the demo of which was incredibly good, and the final version sounds like, erm, a demo.

It wasn’t until I read the Format booklet that I found out “Party Song” was going to be a single instead of “Together”. Well Jesus fucking Christ I am glad that didn’t happen. “Party Song” snatched away the title of the worst PSB song so far from “Screaming”, only to be quickly followed by “We’re all criminals now” and “The former enfant terrible”. In general the second half of CD2 is painful listening, especially in comparison with Alternative; if only we didn’t have that amazing legacy to remind us what a power force Pet Shop Boys used to be. The former enfant terrible indeed. With emphasis on former.

The quality could have, sadly, been improved had the Boys not decided against including cover versions that featured aplenty on their singles from 1996 onwards. “Sail Away”, “Break 4 Love”, “My Girl” and “I cried for us” could have been more than worthy replacements for “Party Song”, “The former enfant terrible”, “Blue on blue” and “Screaming” and while of course it would mean sharing some of the (minuscule — Format made #26 in the UK) royalties, it would also mean dramatic quality increase. And there is no explanation, other than PSB being scared of what they made, for skipping “Fugitive” — one of their top 5 best songs ever, sung from a point of terrorist flying a plane into Twin Towers, complete with plane noises, both incredibly scary (“you are my brother… I’m really gonna miss you” can freeze blood in your veins sung in Tennant’s angelic tone) and impeccably pop.

Even the booklet disappoints. While Alternative provided us with amazing graphic design, amazing photography, amazing interview and amazing print quality, Format is a very half-arsed affair, considering the former Boys’ standards. It does look good, but not amazing; there is not a single photograph included, and there is a typographical error in the booklet that I have, sadly, seen and now I can’t unsee it. One of the best songs, “Always” gets summed up with three short sentences; the fact that the same thing happens to “Screaming” isn’t much of a consolation. Even the sequencing is lazy; I realise that the Before CD single had “In the night (1995)” as the last track, but putting those three in the same order as they were on the CD sadly makes no sense whatsoever — you get what can really be described as an instrumental introduction playing as track three out of 18.

I realise I sound very unhappy here, but truth is, this is a somewhat bitter fan in me talking. Pet Shop Boys used to be known for immense quality, great editing and gorgeous artwork. In comparison with that, “mostly quality”, “not much editing applied whatsoever” and “really nice artwork really” don’t cut the mustard. If Format was made by, say, OMD, I would be praising it to the skies here, going on about how incredibly good it is compared to my expectations. When it’s by Pet Shop Boys… it will do in lack of better alternatives.

I recommend buying it on CD — this booklet is great read despite its flaws, and it’s criminally absent from the iTunes release — and then editing down to one CD’s length. There is enough actual classics to rapidly change the overall quality from “rather not so bad most of the time” to “amazing throughout”. My personal edit includes:

1. The truck-driver and his mate
2. Hit and miss
3. Betrayed
4. How I learned to hate rock’n'roll
5. Discoteca (new version)
6. The boy who couldn’t keep his clothes on
7. The view from your balcony
8. Disco potential
9. Delusions of grandeur
10. Casting a shadow
11. Lies
12. Sexy northerner
13. Always
14. I didn’t get where I am today
15. The Resurrectionist
16. Bright young things (demo)
17. Up and down
18. My girl
19. Fugitive (seven-inch mix)

PS. Thanks a lot to Andy is not here for the Australian box-set edition!

The Opiates’ album, “Hollywood Under The Knife” came out five months ago and quickly gained a group of devoted followers. Personally I thought it was a bit on the slow side; my favourite Billie Ray Martin-related record remaining Electribe 101′s “Electribal Memories”. So when I found out there was going to be a remix collection released, I was looking forward to it a lot — Billie Ray’s voice combines with dance music amazingly.

The remix collection features 20 mixes of 8 different songs and clicks at over two hours. This is both a weakness and strength of the collection. (I don’t really want to call it an “album”, because it doesn’t feel massively like one — there’s not much flow to speak about, with vocal mixes and dubs following each other.) Weakness — because it’s just really, really long, and the dubs, while interesting for DJs, aren’t really that exciting to play at home. Strength — because with over two hours of music at price of 9.99 euro you’d have to really not like any sort of electronic dance music not to find something great on the collection. And great tracks are aplenty. In particular “Candy Coated Crime” has been blessed with an amazing set of remixes, Dan Beaumont’s being my personal favourite. Kim Ann Foxman delivers a great take on “Jalousies And Jealousies”. Drop Out Orchestra’s vocal mix of “Reality TV” is simply great fun to listen to in its disco fabulousness.

My own edit of “Hollywood Cuts” is a playlist of 10 tracks, 63 minutes, and that one would make an amazing CD album with proper flow. I’d encourage everyone to put their own version together — there’s more than enough fabulous material on this album to do that. I’d say buy the whole thing (as I said, at this price it’s really a bargain) but the three picks I listed above are absolutely essential. And I hope that Beaumont’s mix of “Candy Coated Crime” gets a radio edit and becomes a sma$h it deserves to be.

Hollywood Cuts – The Remixes on iTunes

 1   1   3  TONIGHT
            Saint Etienne
 2   2   4  FROM NEWPORT TO LONDON
            Basia
 3   4   2  HAIR
            Aerea Negrot
 4   5   3  BAD GIRLS
            M.I.A.
 5   !   1  BLACK METAL POGO
            DJ Morgoth, Ascii.Disko vs Planetakis



 6   !   1  ONCE IN A WHILE
            Vanessa Daou
 7   3   2  LIQUORICE
            Azealia Banks
 8   6   5  HELLBENT
            New Order
 9   7   2  BORN TO DIE
            Lana Del Rey
10   9   4  SHADY LOVE
            Scissor Sisters vs Krystal Pepsy

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 1   2   2  TONIGHT
            Saint Etienne
 2   1   3  FROM NEWPORT TO LONDON
            Basia
 3   !   1  LIQUORICE
            Azealia Banks



 4   !   1  HAIR
            Aerea Negrot
 5   9   2  BAD GIRLS
            M.I.A.
 6  16   4  HELLBENT
            New Order
 7   !   1  BORN TO DIE
            Lana Del Rey
 8   !   1  GIVE ME ALL YOUR LUVIN'
            Madonna feat. M.I.A. and Nicki Minaj
 9   3   3  SHADY LOVE
            Scissor Sisters vs Krystal Pepsy
10   6   2  BEAR HUG/WORK
            The 2 Bears
 Read the rest of this entry »

 1   !   1  SHADY LOVE
            Scissor Sisters vs Krystal Pepsy



 2   !   1  FROM NEWPORT TO LONDON
            Basia



 3   !   1  TODELOO
            Aerea Negrot
 4   !   1  FUCK WITH YOU
            Bob Sinclar feat. Sophie Ellis-Bextor
 5   !   1  DU TEMPS
            Mylene Farmer
 6   !   1  ORIGINAL DON
            Major Lazer
 7   !   1  COWBOY WAY
            Hellyeah
 8   4   4  PAINTED EYES
            Hercules and Love Affair & Aerea Negrot
 9   !   1  INTO THE NIGHT
            Azari & III
10   !   1  HEAVEN
            Emeli Sande

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